Category Archives: Q&A

Q&A With Debbie Stier, author of THE PERFECT SCORE PROJECT

I recently reviewed (and loved) Debbie Stier’s The Perfect Score Project, a book about her year spent studying for and taking the SAT seven times. Debbie graciously agreed to do a Q&A on EDIWTB. Here it is:

debbie-stierQ: At what point in the project did you decide that you would write a book about it? 

A: I started poking around the SAT in the summer of 2010 and was instantly hooked. It took a few weeks before I declared on my blog that wanted to try for a perfect score.  At the time, I was thinking I’d take one SAT!

But then a publisher called and said, “that’s a book,” at which point I came up with a “book structure” i.e. taking every test every time it was offered in 2011 (7 times) at different test locations (5, because I had to repeat a few), and trying out 12 different methods of test prep (i.e. 1 per month).

I was going to write a “consumer report” on the SAT and test prep.

Then, my kids rebelled halfway through and an unanticipated layer was added to the story: how to motivate a teenager to care about the SAT.

Q: This must have been a difficult book to organize, considering that you had so many concurrent efforts going at once. How did you keep everything straight so that you could divide up the topics so neatly into chapters?

A: An author told me to have the structure down before starting to write, which I took seriously and spent months figuring out. The story part of the book is written chronologically, which was easy; trying to figure out the point of each chapter took months of sorting through notes.

After the first draft, I pulled out the “hard [SAT] info” and put it into boxes within the narrative, which freed me up and I was able to tell the story more easily.

Q: Was it difficult to isolate the distinct impact that each study method had on your test-taking ability? 

A: Yes, though I always knew the project was an anecdotal experiment, not scientific.

Q: Has your audience been mostly parents, students, or educators/test industry professionals?

A: I wrote the book with parents in mind and have been surprised that many have given it to their kids to read after finishing. I probably wouldn’t have shared all my “secrets,” had I known there would be teenagers reading!

I also get a lot of email and calls from educators and test industry professionals, which is gratifying. From the reader reviews on Amazon and Goodreads, the audience seems to be evenly divided between parents, students, educators and test industry professionals.

Q: Did you take time off from your publishing job to do The Perfect Score Project? 

A: Yes! There is no way I could have written a book and held a job at the same time.  I couldn’t even look at the Internet while writing. It took total and utter focus.

Q: You love the SAT, but for most kids it is a dreaded experience that they are happy to put behind them. Given your perspective on the test, do you think it is a useful barometer for colleges to evaluate achievement, ability, and the likelihood of success?

A: I think the SAT is an accurate barometer one’s mastery of the skills tested: reading, writing and math – at one moment in time.  I’m living proof that you can improve significantly, so it’s definitely a test of ability, which is why I don’t think it’s an accurate predictor of “success in life.”

I read one study that said your high school’s SAT average is a better predictor of success in life than your personal SAT score. That seems more accurate to me.

Q: Any more books on the horizon or are you back to your day job?

A: Not sure!

I’m in the midst of writing another book about educating my daughter Daisy (now home schooled), and, she is writing a novel that I’m in the midst of editing.

My guess is that her book and proposal will be finished before mine.

Q: Did you enjoy recording the audio of The Perfect Score Project?

A: I loved it!  I’d do it again in a heartbeat, though I wish I’d taken diction lessons before I recorded it!

Next time!


Last week, Ann Patchett came to my local indie, Politics & Prose, for a reading and Q&A around her new collection of essays, This Is The Story Of A Happy Marriage. Patchett’s talk was smart, irreverent, and very entertaining. From what I learned of Patchett by reading Truth and Beauty, I was expecting someone shy and retiring. Not so – she’s feisty and funny and confident.

Here is a writeup of the talk and the questions from the audience.

AP: Here is how This Is The Story Of A Happy Marriage came about. In my house in Nashville, I had bins full of hard copies of essays I have written over the years for various publications. A young woman that I had worked with before [and who now lives in Nashville and is the head of events and marketing at Patchett's bookstore, Parnassus Books] decided that it was time to digitize them. She scanned them all, and then decided that I should put out a book of essays. I said no, but she’s a bossy type and said yes.

I don’t read my own work. I can’t read my own books, nor do I read interviews with me. But every time something important happens to me, I write about it, and then I put the article in the bin. It took me a long time to read through this collection of essays, and when I did, I hated it. I took out everything that was bad, and then thought about what I wanted to include. So even though I thought I couldn’t do it, I worked on the book. I had published articles in such random places that I figured no one could see all of them, and now here they were in one place. Put together, it all seemed embarrassing, exposed.

What changed everything for me was opening Parnassus Books. I went from being an indoor, private, controlled person to an outdoor person. All of a sudden, I was doing a lot of interviews and speeches about the importance of independent bookstores. I was reluctant to open the bookstore, but now I know that it has been good for me. I have a lot of friends at the store; I see a lot of authors there on book tours; my dog hangs out there; and I get to force people to buy the books I love. I’ve been doing that to friends for a long time, and now I am doing that to strangers. People are scared of me, so they buy what I tell them to buy. I take books out of their hands and say, “Can we talk about this?” I have become a spokesperson for independent bookstores. The lowest price may not necessarily be the best value.

This Is The Story Of A Happy Marriage should read like a novel – it is about all the things I am married to: my dog, my store, my husband, writing.

Q: Why Nashville?

AP: I am from there!

Q: How do you balance writing with the rest of your life?

AP: It was easy with this book of essays, which I could start and stop. There is a novel I want to write when I get home. But the reality is that everything changes – my life has changed, and this is where I am now.

Q: When did you know you wanted to write?

AP: Before memory – age 4 or 5. There is a long essay in this book, “The Getaway Car”, which contains all of my advice about being a writer. Whenever someone is referred to me for advice about writing, I tell them to read that essay. It’s all in there. It’s the smartest thing I have ever written, because no one comes back with questions. It’s the “anchor store” of my essay collection.

Q: Was Truth And Beauty the hardest book you’ve written? Did you decide not to write any more non-fiction after that?

AP: It was actually the easiest book to write. What was hard was that the book caused a lot of hurt feelings and I got a lot of flack for it. There are friends of Lucy [Grealy's] who are not in the book. I have had to overcome and forget.

Q: How did your Catholic background affect you?

AP: It affects everything. I follow a nice brand of Catholicism. I disagree with pretty much everything the Catholic Church stands for, but it is still my religion. It is all about taking responsibility.

Q: You have said that writing a book is like pinning down a butterfly.

AP: Yes. When I have an idea for a book in my mind, it is the most beautiful, perfect novel in the history of the world. When it’s completely in my imagination, it is full of movement, color, and dimension. As soon as I write it, it becomes flat. Writing is “a death of dreams”.

Q: Bel Canto is one of my favorite books. How did it come about?

A: Like most of my books, Bel Canto is about a group of strangers thrown into confinement. I write about this theme over and over. This was my fourth book. It came out in May 2001, and after September 2001, people were very interested in terrorism. A lot of people thought I set out to write a book about terrorism – not true. Like The Kite Runner, the stars were aligned.

Q: Which books are you recommending in your store?

A: A Constellation of Vital Phenomena by Anthony Marra,  We Are All Completely Beside Ourselves by Karen Joy Fowler, The Goldfinch by Donna Tartt, The All of It by Jeannette Haien.  A book of essays that is better than mine is A Day at the Beach by Geoffrey Wolf. Books are like lemmings – they are always being pushed off the shelf by other books. I try to save the ones that I love.

Q&A with Ben Dolnick about AT THE BOTTOM OF EVERYTHING


Ben Dolnick, courtesy of his website. Photo credit Michael Lionstar.

One of my favorite things that has come from writing this blog is the great fortune I’ve had to interact with authors after I’ve read their books (and sometimes even while I am reading them).  Luckily, authors answer my emails and tweets, and they take time from their busy lives to answer my questions and indulge my amateur theories about their books.

This time, Ben Dolnick, author of At The Bottom Of Everything (reviewed here) responded to my questions with some fascinating and very satisfying answers. They really enhanced my understanding of the book, and were a lot of fun to read. Thanks, Ben, for taking the time and sharing your thoughts.

(And, EDIWTB readers, if you haven’t already, go read At The Bottom of Everything!)

Here is the Q&A:

Q: I’ve been noticing a lot lately that sometimes authors isolate their characters from modern conveniences like cell phones and computers so that they can make their characters truly “lost”. In At The Bottom of Everything, email plays a limited but important role. Did you think about how much access you wanted Adam and Thomas to have to email throughout the book? How did you decide when to let them communicate with others?        

A: That’s very interesting about authors having to cut their characters off from electronics — I’d never thought of that, but it makes a lot of sense, plotting-wise. There are those funny Geico commercials about Christopher Columbus having a speedboat, or Paul Revere having a cellphone: good for convenience, bad for storytelling (for which obstacles and misunderstandings are crucial). As for my book, I didn’t think consciously about cutting them off from modern means of communication (though the plot would certainly have worked differently if they could just have called each other in India). I did decide to include emails, because I liked the density of information they could convey and time they could cover. Also, and just as importantly, the standard style of email — the informality and relative brevity — provided a contrast I wanted with the main narrative of the book.

Q: The part in India, when Adam goes in search of the cave… how did you research it? Did you go to India? To a remote village? To a cave? 

A: I have been to India, though I didn’t go specifically for research. What happened was, I was already working on this book — I wasn’t yet sure what country I wanted to have Thomas disappear to — and I happened to visit my brother, who was working for the Associated Press in New Delhi. Within hours of getting off the plane I think I realized: it would be very easy to get into deep trouble here.

Q: You have an amazing eye for detail. You drop in little descriptions –of people, of objects, of sights – that seem random but are so uncannily accurate that whatever is happening becomes very real and immediate to the reader. Um.. how do you do that? I am in awe. 

A: Thank you! To the extent that there’s something that comes naturally to me about writing — and there are huge number of things about writing that I find bewildering and agonizing and impossible — it’s probably describing stuff. I have no idea why this is so, or what good it does me, but it is, for the time being anyway, one area in which my brain seems to fire away happily, so I don’t ask too many questions about it.

Q:  On a more serious note, around p. 214, Adam truly believes he is about to die. He starts experiencing “life flashing before his eyes”, but it is different from what he expects. Did you base this chapter on something that has actually happened to you, or did you conjure up what you thought he must have been feeling? (I guess that is what writers do…). 

A: No, happily, nothing like this has ever happened to me. I have, in I’m sure the ways that everyone has, felt myself in danger at various points — near-miss car accidents, standing too near a drop-off, etc. — so I think I probably just extrapolated a bit from what that sort of situation can bring up. But mostly it was just guess-work and a question of what felt right to me, for better or worse.

Q: Why did you pick India as the setting for the second half of the book? The combination of chaos and spirituality?

A: Yes, chaos and spirituality sums it up pretty well. Because my brother happened to be working there, there was also a certain amount of arbitrariness/serendipity in the book being set in India, but it ended up being very much in keeping with what I was after.

Q: Who is the “real” Thomas – the one desperate yet lucid lying at the bottom of the cave, or the one from the hotel and the final email? 

A: I don’t know! I know that’s an unsatisfying answer, and if I were a reader of my book, rather than the writer of it, I would certainly expect me to have something more intelligent to say about it, but I really don’t think I do. Part of what I wanted to do in the book was to write about what it would be like if there were an actual, enlightened being alive today, and to some extent that I think the two Thomas’s you describe represent two phases of his development in that direction.

Q: Ok, I have to know – have you read Elliott Holt’s You Are One Of Them, and have you two compared notes at all? Your books are so similar in many ways, and I loved them both. I keep imagining the conversations you two could have.

A: I did meet Elliott at the Brooklyn Book Festival, and she seems so totally great that I’m delighted to have my book overlap with hers, but I actually haven’t read her book yet, and most of our conversation was about where we went to high school (we both grew up in DC) rather than anything literary. I’m eager to read it, though!

Q:   What can we expect next from you?  More novels, I hope.

A: I’m still in that early phase of sorting out the shape and direction of my next book — it feels like a very prolonged period of dating someone, getting to know their personality and interests and etc. — but I’m hoping that we’ll commit to each other soon.

Q&A with Elliott Holt, author of YOU ARE ONE OF US

Earlier this summer, I read You Are One Of Them, by Elliott Holt (reviewed here). I really enjoyed it, and got in touch with Holt to see if she’d be willing to do a Q&A on EDIWTB. She agreed, and gave me some excellent answers to my questions. It was a very satisfying Q&A – thanks so much to Elliott Holt for taking the time to respond to my questions!

Q: I have a theory that some authors deliberately set their books in extremely remote settings or earlier time periods in part so that social media and technology won’t play a role in their characters’ lives. Do you think that the hyperconnected-ness of today’s society, and the fact that many of us communicate not by words or actions but by texts, posts, and tweets, has complicated modern fiction?

It’s true that technology has changed the way we communicate and those changes are starting to infiltrate literature. (I’ve read quite a few novels featuring email, for example.) I don’t think that technology has complicated fiction, but there are certain plots that would no longer work. (Nowadays, if a bad guy cuts the phone line in a horror story, the potential victim could just call the police from her cell phone.) But even with all these new ways to connect, we humans still fail to communicate sometimes. And the tension between what we say and what we mean is still rich material for fiction to explore. There’s still subtext and longing. There will always be subtext and longing.

Q. You basically nailed my middle school experience in You Are One Of Them (minus the friend who went to Russia). What is it about that time of life that provides such fertile ground for fiction?

I think that a lot of what girls experience between the ages of 10 and 13 is universal. No matter where you grow up or go to school, you’re dealing with a lot of the same issues: puberty and cliques, the need to belong and the struggle to define yourself. That age is full of conflict (internal and external). And conflict is essential for fiction!

Q. The ending of You Are One Of Them is a bit controversial, because it could go one of two ways. Do you have a strong opinion about which way it goes?

Was it all a brilliant con created by Svetlana? Or was Sarah’s best friend really a defector? I know the answer. As the author, I had to decide. I know what happens in the end. But this book is a character study of the narrator, Sarah. And Sarah decides to finally let go of her obsession with her friend and to let go of the paranoid  “us versus them” Cold War mindset. So although the surface mystery is not fully resolved (though there are plenty of clues), the book still has resolution in terms of Sarah’s character. And the book is about the way we believe what we need to believe, so readers can choose to believe what they want.

Q. I loved your descriptions of Russia in 1995. I was there for the first time two years ago and found some similarities with your 1995 descriptions – no one smiling, for example. When is the last time you lived in Russia, and does it differ much from the Russia Sarah visits in search of Jenny?

I first visited Russia in 1993, then went there again in 1996. Then I lived there from 1997-1999. I haven’t been there since 2000, though I’m dying to go back. I love Moscow. It’s an amazing city. I know it’s changed a lot since I lived there in the 1990s, but I’m sure there are some fundamental aspects of Russian culture that will never change.

Q. I read an interview in which you said that “there seems to be nostalgia for the Cold War, which is probably about longing for a time when our enemy was easy to place”. I remember the gloomy Cold War 80s, with the threat of nuclear war and the nightmares that came from watching “The Day After”. Do you think we live in a scarier time today?

I don’t know if it’s scarier, but it’s scary in different ways. When I was a kid, my peers and I were really worried about nuclear war. Now I worry about chemical warfare and about cyber warfare. And about various doomsday scenarios involving global warming. There’s always something to worry about if you’re the worrying kind.

Q. I am amazed that You Are One of Them is a debut novel. When can we expect something new from you, and what will it be about?

I’m very superstitious, so I never talk about what I’m working on. I’m writing a couple of short stories right now–I love short fiction–and then I’ll get back into the next novel. I wish I could tell you when the next book will be done, but these things are hard to predict!

Q&A with J. Courtney Sullivan, Author of THE ENGAGEMENTS

J. Courtney Sullivan came to Politics & Prose in DC this summer to read from her book The Engagements, which I reviewed yesterday on EDIWTB. It was a really fun discussion – she’s funny and sweet and shared a lot about the process of writing The Engagements. Here is a summary of the reading.

Opening by J. Courtney Sullivan:

This is my third novel, and it’s about marriage. I’ve been married for four weeks, but I started this book two years ago. I was interested in how the institution of marriage has changed over 100 years, and how it has stayed the same. Same sex marriage is so recent, and as recently as 40 years ago interracial marriage wasn’t allowed in every state. It wasn’t that long ago that wives weren’t allowed to have a credit card.

I’ve had these characters in mind for a long time. I always wanted to write about a paramedic, so I created James, a paramedic in Boston in the 80s who is just getting by . Evelyn and Gerald are in their 70s and have been married for several decades. They’re affluent but not happy about their son, who is getting divorced. Delphine is a French woman who is married to her business partner. They started as friends and the passion has gone away as the marriage has gone on, and there is a new handsome man in her life.

I wrote about these three marriages, and decided that if I am going to write about marriage, I needed a couple who wasn’t interested in getting married. I created Kate and Dan, who don’t want to get married. Their best friends are getting married and one of the grooms has turned into a bridezilla, so Kate is dealing with that.

There was someone missing. I added many 5th characters but no one worked. I was writing about diamonds a lot, and read about the DeBeers advertising. Frances Gerety wrote the line, “A Diamond is Forever” – and she turned out to be the missing piece. She’s the connection between all the characters. She’s the first real person I’ve ever put into fiction.

I ended up interviewing 12 of Gerety’s former co-workers from the Ayer agency, where she worked. The agency became a character too. I interviewed 10 men and asked them, “Why didn’t Frances ever become more than a copywriter?” She was the only one who worked on the copy for DeBeers from the 40s to the 70s. She transformed the industry – before the campaign, people didn’t wear diamond engagement rings, and after the campaign, 8 out of 10 women do. That number has never dropped.

I spent two years looking for the memos that the Ayer agency prepared about the campaign. On the day the book was due, I found a box with the memos in the attic of Gerety’s house. They really infused the story. (The deadline for the book was extended.)

And here is the Q&A.

Q: The characters were so different, so fully drawn. Who was the inspiration for the characters?

A: The biggest challenge and most fun of writing fiction is getting into the heads of people who aren’t yourself. Commencement and Maine were set in worlds I know well. For The Engagements, I had to get out of my comfort zone. Each of these characters lives in a world uncommon to me. I used to be a researcher at the NYT and I know all about researching and figuring out who characters will be. I went to Cambridge and met with paramedics, went to trainings, and did ambulance ridealaongs. 1987 was different from now, so I interviewed medics from then and pulled from their experiences. For Delphine, I didn’t know Paris that well. It was unusual for me. I had to go to Paris, where I hired a guidee and walked and walked until I found Delphine’s house and her store. I interviewed a violin prodigy. I did a lot of research.

Q. Your writing and development of characters – and women in particular – is masterful. I am particularly impressed with how you write women of age and experience. How are you mature enough to identify with them?

A: I’m really 62 with an amazing plastic surgeon… My first book was about a group of friends, the second about women in a family. The next one was obviously going to be about marriage. I’ve seen my friends getting married and how it played out. What makes a good marriage? Luck? Is the success predestined based on who you are? What if one person changes? I like to peer into parts of life that I am not invited into.

Q: From a writing perspective, do you know your characters’ whole lives before you write? The Engagements unwrapped slowly – did you write a biography for each character first or write as you go?

A: With Commencement and Maine, I just started writing. I made some changes to the main character in Maine – Alice – halfway through and changed her from a sweet grandma to a someone who was bitter and scary. With this book, I really needed to know the characters first. But an outline was too rigid. I did a lot of theater in high school, and we had to answer 50 questions about our character – what is his/her favorite color, most painful childhood experience, nickname, etc. For The Engagements, I answered these questions for all four main characters. I had a sense of who they were before I started writing.

Q: Talk about the challenges of writing James, a male character.

A: I had as much in common with James as I did with Alice from Maine. I thought I’d try to write a man. Over time, I realized that it’s not so black and white – we aren’t a different species. James is just a man; I thought – “I can do this”.

Q: What do you read?

A: I read non-fiction to inform my books. As for fiction, recent favorites are Jennifer Close, Kate Atkinson’s Life After Life, Maggie O’Farrell’s Instructions for a Heatwave.  A teaser: Love, Nina, by Nina Stibbe, which is a collection of letters written by a nanny for a family in London to her sister.

Q: Did your parents’ marriage inform your characters here?

A: You can’t mother children without thinking of your own mother. Either you want to be like her or you don’t. It’s similar here – the marriage you observed growing up will inform how you think about marriage. Kate grew up in the 80s with divorced parents, so she’s cautious. I identified with Kate – her opinions were mine. I wasn’t engaged when I started the book and was a curmudgeon about weddings (though I did think I’d get married). Then I got engaged and turned into a bride.

Q: What’s next for you?

A: I am in the early stages of something new, but I am not getting into that yet.

Q&A With Roxana Robinson, Author of SPARTA

Earlier this month, I attended a Q&A with Roxana Robinson, author of Sparta, at Politics & Prose. I read her novel Cost a few years (reviewed here) ago and was very impressed with her writing, and I wanted to check out what she had to say about her new book.

Sparta is about a 26 year-old veteran of the Iraq war, returning from his second deployment. From Robinson’s introduction to the Q&A:

Robinson_JoyceRavidSparta is a departure in a way from her previous novels. She started it five years ago after reading an article in The New York Times about soldiers in Iraq in unarmored Humvees driving over roads with bombs. She was also outraged about soldiers with PTSD not being removed from combat. She felt that we weren’t doing well by our troops. She wasn’t a fan of the war. She wanted to know what it would be like to be on the ground in Iraq, so she read everything she could about it.

Robinson found this topic more difficult than writing about some of her previous topics – Alzheimer’s, heroin – and the research took over her life.  She read military blogs, which provided more than the journalists did, who simply reported facts. The first person narratives from soldiers showed them doing their job – fighting – rather than writing. She also watched YouTube videos of soldiers wearing mini cams on their helmets, so that she could experience what it was like to be in a firefight.

She talked to vets, which was most influential. She found it hard because the vets didn’t want to talk to a novelist or a woman. But she started a network and talked to vets at houses, cafes, and on the phone. These stories let her into the life of Conrad Ferrell, her main character.

Q: Do you deal exclusively with PTSD? How do you weave it in and out?

A: PTSD is very much a presence in the book. It presents in a variety of ways, and is stronger in some places than others. PTSD is an ambiguous condition. It is part of a lot of returning vets’ experiences. This is the story of someone coming home who is revisited by experiences with explosives. There are psychological as well as physiological injuries.

Q: How did you end up writing Cost?

A: By accident. I didn’t mean to write about heroin addiction. I was curious about why it is so hard to be a good adult child. Once could be an adult but turn into a 6 or 13 or 21-year old in the presence of one’s parents. When does that go away? I was writing a novel about parents and children of different ages, but realized as I was writing that the younger brother was a heroin addict. From there, the book exploded.

Q: Did you hear from or talk to the VA since you finished Sparta?

A: I didn’t. I went to the VA in NY but wasn’t allowed in. I hung around and saw people going in and out. I saw notices and talked to someone who worked there, and got testimony from vets who have been there. I don’t expect to hear from them.

Q: Has the government admitted anything?

A: The book is not an accusation. It is based on serious, published facts and the public record.

Q: How was it turning non-fiction into fiction?

A: With the novels I have found myself doing, there has been a lot of research. Characters in those worlds are not in my world. I have to live someone else’s life. This was the hardest book I’ve written.

Q: Did anything surprise you in your research?

A: I started at such a low level of knowledge that everything was a surprise. I only felt outrage. I learned that war is about emotion, not strategy, weapons or weather.

Sparta sounds like a very powerful read – I hope to get to it soon.


Q&A with Lionel Shriver, “Big Brother”

Yesterday, I reviewed Big Brother by Lionel Shriver. Here are my notes from a Q&A with Shriver about Big Brother that I attended last month at Politics & Prose here in DC. I hope this helps provide more color around Big Brother – I certainly found that it did.

Her commentary about Big Brother:

Big Brother by Lionel ShriverThis is a book about a sibling relationship – an intense relationship together as children that bonded them. Pandora wants for herself the wholesome solidity she identified with her father’s parents in Iowa, where the book is set. She likes modesty and authenticity. Edison is competitive with their father, and wants to see his name in lights, make a name in the world. There is a different trajectory for these two.

Edison is handsome, but has now fallen on hard times. Pandora, on the other hand, became accidentally successful. Career success is a running theme in the book, as is obesity.

This is a book that looks at the larger issue of appetite. Career success and food themes come together. In the book, Pandora concludes, “we are meant to be hungry”, and that the state of satiety is not to be envied. Desires give us a sense of direction and energy, a place to go toward. When you have you what you want, life becomes a static experience.

Success is an absence of pain, but it’s pleasant and mild. “Suffering, though, has an intensity that contentment doesn’t. Sometimes I miss the drive that the other gave me.” As far as being successful, Shriver is “doomed to consider myself very lucky”.

The small sacrifice that having a higher profile has brought: attention has shifted from the book and her brother (whom the book is loosely about) to her. Book reviews talk about her diet and her exercise routine. This has illustrated what the book is about: the excessive importance we place on physical size. We’ve gone existentially backwards.  The observations on people’s size has become “a sick spectator sport”. She was exposed to it for weeks.


 Q: Why make your home in London? Most of your books are set in the U.S.

A: I was living in Belfast, and was going to spend one year there and instead spent 12. My partner there got a job in London, and I owed him, so we moved. We split up, but I have career reasons to be in London – a large readership, and I am better known there. I’ve been in the U.K. for 26 years. It has become a big part of my identity. I do think about what it would be like to move back to the U.S. – it would be relaxing but would cause an identity crisis.

Q: This book is deeply personal and different from your other books.

A: Not exceptionally so. There is usually some personal element that has drawn me to a topic. I lost my brother [to obesity], so it makes sense that this book would come now. But I am not an autobiographical writer. I find that when I am forthcoming, I get the “autobiographical” tag thrown in my face. Especially with female writers – the term is meant to be diminishing, like you can’t make stuff up. With Big Brother, it helped to have something to work through. With So Much For That, I had lost my closest friend to the disease in the book, and was contending with my own mortality.

Fiction can combine abstract/social issues with something personal and close to home. It is the illustration of the minutiae of an issue.

Q: Has writing books gotten easier?

A: Writing books hasn’t gotten any easier, which seems unfair. I had no confidence in this book for its entirety. I only decided I liked it at the final draft. It was very anxious-making.

Q: Why did you change your name at 15 years old?

A: I hated it; it wasn’t the right name for me. I am glad I did it when I did. The longer you put it off, the harder it is.

Q: What did you learn about out-of-control appetite? Did writing the book give you any understanding into our celeb-obsessed culture?

A: We turn to food to satisfy other appetites that food can’t satisfy. If you’re eating because you’re lonely, you can eat the whole fridge and you will still be lonely. “Comfort eating” is a weird expression. You won’t feel better at the end – eating comfort food generally makes you feel dumpy and irritated with yourself.

As for celeb-obsessed culture: Why don’t young people have more ambition to achieve, or make something? We have blurred career success and celebrity. Why is it interesting or exciting to get a picture in a magazine? I think it has to do with the prevalence of visual images. I deliberately made Pandora, the narrator of Big Brother, a little overweight. It is important that she has her own food issues. She is able to speak candidly, and get a little further under the surface.